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Introduction CHAPTER 1 Introduction RETHEORIZING MEXICAN FILM HISTORY / N 1992, when I published Cinema of (Mexico’s Nuevo Cine) of the ’70s, the lull Solitude: A Critical Study of Mexican in the ’80s and ’90s, to its current renaissance Film, 1967–1983, it was the fi rst in this millennium with the rise of con- I book-length critical study of Mexi- temporary auteurs such as Alfonso Cuarón, can cinema in English. Since then, Guillermo del Toro, María Novarro, Alejan- I am happy to report, there has been a boom dro González Iñárritu, Carlos Reygadas, Luis in the research and publishing of Mexican Estrada, Mariana Chenillo, and Fernando fi lm history and criticism, both in English Eimbcke, among others. Some critics and and in Spanish. It is heartening to see so much historians, myself included, have focused work of such high quality busily investigating their attention on the Cine de Oro, the trans- Mexico’s rich and fascinating cinema. formative two-decade-long Golden Age that This fl ourishing Mexican fi lm literature lasted from the mid-1930s to the late 1950s. has employed numerous approaches and During that time, Mexican cinema rose from covered all historical periods, from the earli- near extinction at the end of the silent era to est days of the medium’s arrival in Mexico, become the most successful Latin American through the silent era, the Golden Age, the cinema and the leading Spanish-language fi lm subsequent crisis in the 1960s, the resurgence industry in the world. FACING: Detail of fi gure 6.48. BBerg_5146_BK.indderg_5146_BK.indd 1 66/4/15/4/15 99:48:48 AAMM But despite the fl urry of research and This is followed by a chapter covering publishing, the systematic study of the style the beginning of Mexican sound fi lms in the of Mexican cinema has hardly been touched early 1930s and the resulting rebirth of Mex- upon. Other than Eduardo de la Vega Alfaro’s ico’s cinema production. Aft er that are three monograph on Sergei Eisenstein in Mexico,1 chapters that focus on the fi lms produced by articles I have published (which have been the predominant Golden Age auteurs of three extensively reworked here), an essay by Evan successive decades: Fernando de Fuentes’s in- Lieberman and Kerry Hegarty,2 and another fl uential Revolution Trilogy from the 1930s; by Patrick Keating,3 the investigation of the the collaboration of Emilio Fernández and poetics of Mexican fi lms in general and of his fi lmmaking unit, especially the fi lms they the most honored fi lms of the Golden Age made during the 1940s; and the Mexican fi lms in particular is still in its infancy. This book of the Spaniard Luis Buñuel, who moved to addresses that lack by examining the poetics Mexico in the mid-1940s, became a Mexican of the Golden Age’s Classical Mexican Cin- citizen, and directed more than twenty fi lms ema, the name I have given to the era’s most there during the next nineteen years. My last esteemed fi lms. analytical chapter looks at three exceptional My investigation concentrates on the genre fi lms directed by three important development of Mexican fi lm in the fi rst half Golden Age directors—Juan Bustillo Oro, of the twentieth century. Beginning with the Adolfo Best Maugard, and Julio Bracho—in pre-cinema and early cinema period at the the 1930s and 1940s. turn of the previous century, I analyze the illustrations of the prolifi c artist, cartoon- Methodology: Neoformalism, ist, and illustrator José Guadalupe Posada to Neoauteurism, and Cultural Studies note how his engravings set the stage for the Mexican fi lmmakers who would soon follow. My analytical method combines neoformal- My claim is that Posada was the font from ism and neoauteurism, which will be de- which Mexican fi lm as a whole and what I call ployed within a cultural studies framework. the Classical Mexican Cinema fl owed. Then I Neoformalist analysis is the “poetics of fi lm” examine the poetics of Enrique Rosas’s El au- approach pioneered by Kristin Thompson tomóvil gris (1919), the crowning achievement in Breaking the Glass Armor: Neoformalist Film of Mexico’s silent fi lmmaking. Based on an Analysis (1988),4 and used extensively since infamous string of revolution-era crimes, this then by her and David Bordwell in numer- remarkable docudrama marked the national ous books, articles, and blog posts.5 In part, cinema’s transition from documentaries that The Classical Mexican Cinema is modeled on dominated national fi lmmaking from its Bordwell’s Narration in the Fiction Film and, inception in 1896 to the mid-1910s to narra- to an extent, his books on Yasujiro Ozu (Ozu tive fi lms that have commanded Mexican fi lm and the Poetics of Cinema) and Carl Theodore production ever since. As such, El automóvil Dreyer (The Films of Carl-Theodor Dreyer).6 gris set the stage for the Golden Age fi lms that Because so little formal analysis of Mexican came aft er the introduction of sound. fi lms exists, this approach provides me with 2 The Classical Mexican Cinema BBerg_5146_BK.indderg_5146_BK.indd 2 66/4/15/4/15 99:48:48 AAMM an orderly way of detailing the style of the Furthermore, there is no reason why Classical Mexican Cinema of the Golden Age. neoformalism cannot aid in unveiling a fi lm’s Moreover, neoformalism has a number of ideological stance. In Ozu and the Poetics of other investigative benefi ts, enumerated by Cinema, Bordwell used the results of his Bordwell in his second introduction to his poetics of cinema analysis as the basis for a Ozu book: discussion about how those fi lms transmitted political ideology.10 Indeed, I did much the Through the lens of poetics we can same thing in chapter 2 of Latino Images in systematically study a director’s subjects, Film, where I performed a thorough neo- themes, formal strategies, and stylistic formalist reading of a four-minute scene in strategies, taken in relation to the norm- Falling Down (1992) in order to demonstrate driven practices of his period and place. how following the standardized practices of The poetics framework is historical, Hollywood fi lmmaking may inadvertently because it mounts causal explanations of serve to perpetuate the stereotyping of ethnic the movies’ distinctive qualities. It’s also minorities.11 Of course, a lot depends on how analytical, because it asks us to scrutinize the critical method is employed. To be sure, choices made by the director.7 neoformalism can be practiced in an overly narrow, reductive, and shortsighted way—as Since studying the subjects, themes, and can any analytical approach. However, ap- formal and stylistic strategies of the afore- plied appropriately, which I hope to do here, mentioned Mexican fi lmmakers and their it need not be. fi lms is precisely my goal, the poetics of fi lm A second key analytical tool I utilize in approach perfectly suits my objectives here. this book is neoauteurism. Just as neoformal- I recognize that some critics regard the ism is a reconceptualized version of formal- kind of neoformalist analysis practiced by ism, neoauteurism is similarly a more nu- Thompson and Bordwell as ahistorical and anced rethinking of auteurism, the analysis antithetical to cultural studies,8 but I don’t see of fi lms based on who directed them. Here anything inherent in the method that makes I take my cues from two critics whose work it so. Indeed, as Bordwell himself states, the I deeply respect, Robin Wood and Dolores poetics of cinema approach is meant to in- Tierney. Both of them have published signifi - vestigate style within a context, “in relation,” cant works on individual directors12 without that is, “to the norm-driven practices” of the resorting to vulgar auteurism of the sort director’s period and place. Properly utilized, whereby the critic simplistically searches for then, neoformalism is historical. It situates patterns of directorial fl ourishes that prove fi lmmakers and their fi lms in a particular authorship and provide a reason for assigning time and place. And it is analytical—not directors to a cinematic pantheon. I am aware merely descriptive—since it carefully consid- of the problems occasioned by the excesses of ers the choices directors made and asks why early examples of auteurist criticism, which they made them.9 are neatly summarized by Wood: RETHEORIZING MEXICAN FILM HISTORY 3 BBerg_5146_BK.indderg_5146_BK.indd 3 66/4/15/4/15 99:48:48 AAMM Auteurism emphasized the personal Though I am still following the standard signature at the expense of everything else auteurist methodology—looking for stylistic (sometimes valuing a director’s work just patterns and their repetition within a particu- because it could be demonstrated to have lar director’s body of work—it is my aim to one) and, at the worst, claimed or at least be attentive enough to see the forest and the implied that the author was solely and trees. One crippling pitfall of auteurism as exclusively responsible for the meaning it is sometimes practiced is that while going and quality of his texts. Its opponents about its business of spotting an overarching countered this by pointing out that the directorial style across a director’s fi lmog- author did not invent the language and raphy, it fails to fully appreciate individual conventions of his medium, the genre works, especially when they break from within which the work was located, the established patterns. This type of auteurism ideological assumptions inherent in the thus makes criticism a self-fulfi lling proph- culture and necessarily reproduced .
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